Examples on Improvisation

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EXAMPLES ON IMPROVISATION

APPLICATIONS OF IMPROCHART CONTENTS

 Introduction

 Improvisation – Ballad  Score (Lead Sheet)  Improvisation Phases  Scales for Improvising  Development of the Solo

 Improvisation – Bolero

 Improvisation generally consists in creating a Melody suitable for a given Chord Progression.

 On each chord, the melody is composed, in most cases, by notes of a Scale related to the chord.

 Logically, the scales related to a given chord are those containing the notes of the chord.

4  Next, the score (lead sheet) of a Jazz Ballad is shown, on which we want to perform an improvisation. (You can listen to this piece by clicking on the “loudspeaker” symbol).  The song consists of 4 phrases, each one having 8 bars. Phrases 1, 2 and 4 are very similar. Phrase 3 is different.  If we represent each phrase by a letter, we will say that this song has the AABA form.  AABA is one of most common forms in Jazz Standards. Part B is called the “bridge”. © 2010 www.harmonicwheel.com SCORE (LEAD SHEET)

 In order to improvise on this song, we have to mentally remove the melody and keep just the chords. That is, we begin with a score like the one shown in the following two slides. For those people not knowing how to read music, a simplified score is included after them.

 Anyway, now we have to create a melody that “fits” or “sounds well” with this chord progression.

C Instruments AFTER THE RAIN (Ballad) Luis Nuño

O B ∆ Cm7 Fm7 F  Gm7 Cm7 F7( 9) B ∆ F7( 13)    O B ∆ Cm7 Fm7 F  Gm7 Cm7 F7( 9) B ∆ C7( 9)    Fm7 B m7 E 7 A ∆    AO B m7 D m Cm7 F7( 9)    O B ∆ Cm7 Fm7 F  Gm7 Cm7 F7( 13) B ∆ F7( 13)    © 2010 www.harmonicwheel.com IMPROVISATION PHASES

 The most common procedure for improvising consists of 2 Phases:

1) For each chord or group of chords we need know which scale or scales are suitable for improvising on them.

2) After choosing one of these scales, we have to form a melody with its notes (development of the solo).

 Let us start with Phase 1. The first chord in the score is B ∆. Which scales can we use for improvising on it? b TM  The Improvisation Chart or IMPROCHART gives us the answer.

 Firstly, we have to find the symbol ∆ on the plastic disc, which is printed in red.

 Then, we rotate the discs until symbol ∆ is placed just after B on the cardboard disc, also printed in red. b

 This is the result:

14  This way we obtain a region defined by blue lines, which inside contains the following scales: G Bl D hm Bl

15  These 9 scales are suitable for improvising on B ∆ chord, each one in a different context. b  In this example, we are going to consider just Major Pentatonic (PM) scales, since they are very common in Jazz and, moreover, they do not contain avoid notes. They are the following: B MP F MP C MP b  The second chord in the score is Cm7.  So, we find the symbol m7 on the plastic disc of IMPROCHART TM and place it just after C. The result is: © 2010 www.harmonicwheel.com SCALES FOR IMPROVISING

 Here we find other types of scales, such as mm: melodic minor, Hd: Half-Whole disminished, and BD: Bebop Dominant.  As we focus on MP scales, we select: E MP B MP F MP b b  In the same way, we find all the MP scales related to each chord in the score.  Next two slides show the result for the first 8 bars (phrase A) in a table. The key signature associated to each scale is also shown. © 2010 www.harmonicwheel.com SCALES FOR IMPROVISING

Phrase A 1 2 3 4 O Key Signature B ∆ Cm7 Fm7 F  4 A MP 3 E MP E MP  MP  MP  MP 2 B B B F MP F MP 0 C MP - (Arpeggio)

Phrase A 5 6 7 8 Key Signature Gm7 Cm7 F7( 9) B ∆ F7( 13)    5 B MP B MP 6·6 5  4  MP 3 E MP MP MP 2 B B B F MP F MP F MP 0 C MP C MP - (Arpeggio) (Arpeggio)

 As can be seen, the B MP scale is the most common b to these chords, since it appears in bars 1, 2, 3, 5, 6 and the first half of bar 8. Therefore, this is the most suitable scale for improvising in this context.

 In bar 4, we do not have any available MP scale, O so we can simply use the notes of F # chord, that is, F , A, C, E . It is possible to play just one of these # b notes, or even not to play (rest). Another option is to make an anticipation of the next chord with a scale related to it. © 2010 www.harmonicwheel.com SCALES FOR IMPROVISING

 In bar 7 and the second half of bar 8, we can use the B MP scale, but the changes between B MP and b B MP would produce a large contrast, since their key signatures are quite far apart. For simplicity, in this example we will use, in these cases, the notes of the corresponding chords, which now are F7( 9) and b F7( 13). We can even not to play (rest). b  Bars 9 to 16 contain the same chords as bars 1 to 8 (except the last chord), so we can repeat everything said for the last ones.

 For bars 17 to 24 (phrase B), the available MP scales are the following :

Phrase B 17 18 19 20 Key Signature Fm7 B m7 E 7 A ∆    5 D MP 4 A MP A MP A MP   MP  MP MP  MP 3 E E E E 2 B MP B MP   

Phrase B 21 22 23 24 Key Signature AO B m7 D m Cm7 F7( 9)    4 E MP 5 B MP B MP 6·6 G MP 5  D MP    MP 4 A MP MP 3 E E 2 B MP  F  MP - (Arpeggio) (Arpeggio) (Arpeggio)

 In this case, the E MP scale is the most suitable for b improvising, since it appears in most of the bars.

 In bar 21, we do not have any available MP scale for improvising, so we will use the notes of AO chord.

 In bar 23, we have a D m chord, without specifying b the seventh. So, we will look for the MP scales related to the D m∆ and D m7 chords. They are those b b indicated in the previous table.

 Anyway, both the MP scales in bar 23 and in the second half of bar 24 have their key signatures quite far apart the E MP key signature. So, as explained b before, in these cases we will simply use the notes of the corresponding chords; as well, we can even not to play (rest).

 Finally, bars 25 to 32 contain the same chords as bars 1 to 8 (except the next to the last bar), so we can repeat everything said for the last ones.

26  Therefore, we can perform the improvisation by only using 2 scales: B MP and E MP, plus some arpeggios. b b  Next slides show the score with the suitable scales and arpeggios for improvising.  In case you do not know the MP scales, you can use the Table of Scales given with IMPROCHART TM.  Anyway, the following slides show the notes of the scales and arpeggios we are going to use.  A suitable score for those people not knowing how to read music is given, too. © 2010 www.harmonicwheel.com SCALES FOR IMPROVISING

C Instruments AFTER THE RAIN (Ballad) Luis Nuño

B Major Pentatonic (Arpeggio)  B C D F G F A E E   O  B ∆ Cm7 Fm7 F  (Arpeggio) (Arpeggio) F G A C E F A C D E Gm7 Cm7 F7 ( 9)  B ∆ F7( 13)     (Arpeggio) F A E E  O  B ∆ Cm7 Fm7 F  (Arpeggio) (Arpeggio) F G A C E C D E G B Gm7 Cm7 F7 ( 9)  B ∆ C 7( 9)    

E Major Pentatonic  E F G B C  Fm7  B m7 E 7 A ∆    (Arpeggio) (Arpeggio) (Arpeggio) A E E F D F A F G A C E AO B m7 D m  Cm7 F7( 9)     B Major Pentatonic (Arpeggio)  B C D F G F A E E   O  B ∆ Cm7 Fm7 F  (Arpeggio) (Arpeggio) F A C D E F A C D E Gm7 Cm7 F7( 13)  B ∆ F7( 13)    

31  Let us move on to the Phase 2 of the improvisation, which consists in creating a melody with the notes of previous scales and arpeggios.  Although this phase is highly creative, the following directions can help: 1) Memorize every scale and arpeggio you are going to use. 2) Divide the solo into phrases of 2 or 4 bars. 3) Compare the different effect obtained when starting a phrase before, after, or just on the first beat of the bar. © 2010 www.harmonicwheel.com DEVELOPMENT OF THE SOLO

32 4) Divide each of those phrases into two parts, with the form Question-Answer or Tension-Release (Antecedent-Consequent).

Elements producing TENSION Elements producing RELEASE Increasing Volume Decreasing Volume Ascending Lines Descending Lines Alternating directions Uniform directions Big intervals Small intervals High rhythmic density: Low rhythmic density: Short-duration notes, few rests Long-duration notes, rests Hard articulation (staccato) Soft articulation (legato) Disonances (Chord Tensions) Consonances (Chord Tones)

33 5) Anyway, the Antecedent and the Consequent must be consistent between them. 6) Use the Repetiton and the Sequence to give structure to your solo, as well as to facilitate the interaction with the other musicians and the audience. 7) Listen to the masters and try to imitate them. As well, listen to other soloists and analyze their solos. 8) Try to be creative and use your imagination. There are always new possibilities.

 Next slides show an example of a Solo.

 The following files are given:  Score with the Melody and the Chords (Lead Sheet)  2 Scores with the Scales and Arpeggios for improvising  Score with the Example of a Solo  Audio File with the Accompaniment  Audio File with a full Performance

 You can see a performance of this song on www.youtube.com/ruedaarmonica or on the link http://www.youtube.com/watch?v=urSIzSgQRxU

 As an exercise for the reader, another score in a very different style is included: a Bolero.

 This piece is, actually, the second part of the “Example of a Composition” included in this Website. It consists of a 4-bar introduction and then four 8-bar phrases.

 Use IMPROCHART TM to obtain the most suitable scales for improvising. In this case, use Major and minor (harmonic and melodic) scales, instead of Pentatonics. There are many options.

 The following files are given:  Score with the Melody and the Chords (Lead Sheet)  Audio File with the Accompaniment  Audio File with a full Performance

 You can see a performance of this song on www.youtube.com/ruedaarmonica or on the link http://www.youtube.com/watch?v=mwPasYlWBCE

 In this performance, a different procedure for improvising was followed. Although simpler, it is far less versatile than the previous one. It consists in: 1) Playing the Head. 2) Playing Embellishing Notes on the chord tones. 3) Combining the Head with the chord tones.